Space Week 11

4/30/2020 Wed_SP_19: Space Week 11
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Space Week 11
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Contributors
When we are composing images we are dealing with the division
Amelia Kasten
of surface, as well as the illusion (or interpretation of 3D
Beckie Lee
space). It is important to note that the division of surface, or
Bill Perkins
2D space is very important within the illusion and design of 3D
Chelsea Chan
space. That is why I put so much importance on Matrix. Your
Cullen Townsend
Matrix is your 2D plan of surface division. 2D design comes up
Joss
regularly while we are dealing with capturing the illusion of 3D
Julius
space and is why there is so much study and research
Khyli B.
into cannons of proportions and mathematical solutions to
Lorraine Li
surface division.
Marilyn Lin
We have to juggle these two aspects of design with any image.
Michael M
The end result can be quite different. Some images might lean
Nina Julianto
heavy on surface division and we might consider that to appear
Rachel Morales
more graphic. On the other hand we might lean towards illusion
Rachel
where we realize a greater appearance of spatial depth.
Reginald
Sandra Chang
Common problems:
Sangah Lee
When we are focusing on illusion we can sometimes become too
Sayoung Park
focused on the subject, textures and rendering of individual
Steffany
objects within the image. At this point you tend to lose or
Wynonna Kirk
disregard your initial design Matrix. And you may begin to lose
rachel wilson
your sense of design and image clarity, and message in favor of
yk
rendering.
か
If you are using the impact of rendering or in some cases adding
more detail in specific areas of your image to bring focus to that Report Abuse
area consider deleting the words "rendering and detail" and

Blog Archive
replace them with this concept.
April 2019 (6)
March 2019 (8)
"We will most often be drawn to the area of an image which has February 2019 (5)
the highest concentration of small, contrasting marks". January 2019 (22)
This is the general case for most images unless there are other
elements that terribly over power this effect.
https://compsp19wed.blogspot.com/2019/03/space-week-11.html 1/54
Space
We can depict the illusion of space in infinite ways but we can

achieve greater visual clarity and support the clarity of our
image message by establishing your approach to space through
these basic aspects of space.
Flat Space
Limited Space
Deep Space
Ambiguous Space
Cubist Space
Of course we can combine any of these spatial characteristics within any composition as
long as we are establishing clarity as to their use. You could have for instance an image
with predominantly flat or limited space while depicting another specific area of deep
space within it. Although the difference of handling of space needs to remain clear. If
spatial relationships are blurred, or ambiguous you will achieve a poor visual read, or if you
are creating visual contradictions purposely within your image you would creating an
ambiguous space situation.
In film you could assign one aspect of space to a place, character, situation, mood, etc.
while assigning another place, character, situation, or mood etc.. Each different handling
of visual space will create a different impression of space for the viewer. Depending how
you attach your use of space with the story you are telling can offer a deeper direct
experience or offer subtext to your story.
2D Division of Space Matrix
Our other visual components add to or heighten the affect of

these different interpretations of space. In Tone, hi contrast
comes forward and low contrast recedes. Light or dark objects
can come forward in space depending on if something is
artificially lit atmosphere, above or below the surface of water
these will react different. If we want to use tone to add to the
effect of Flat Space we might keep high contrast throughout
space. Where as in Deep Space we would change the contrast
level as we recede. And we would not just invert tonal
contrasts in foreground and background but confuse the viewer
spatially. Shapes, Rhythm, movement, and color can all effect
space.
Here are some notes on perception of space and relationships.
Figure-Ground Relationship and Gestalt principles of Perception
Composition begins with the relationship between figure and ground.

This consists of making clear the division of object and its surround.
As artists, art directors, or visual communicators of any kind we need to
move beyond relying on intuition alone, or a vague understanding of
composing pictures. We need to study composition and visual literacy in
order to take the guesswork out of design. So starting with figure
ground here are simple definitions for the gestalt principles of

perception:
Figure Ground Relationship

Elements are perceived as either figures (distinct elements of
focus) or ground (the background or landscape on which the
figures rest).
Law of Prägnanz
Humans tend to interpret ambiguous or complex images as
simple and complete.
Uniform Connectedness
Elements that share uniform visual characteristics are perceived
as being more related than elements with disparate visual
characteristics.
Good Continuation
Elements arranged on a line or curve, are perceived to be more
related than elements not on the line or curve.
Closure
When looking at a complex arrangement of individual elements,
humans tend to first look for a single, recognizable pattern.
Common Fate
Humans tend to perceive elements moving in the same direction
as being more related than elements that are stationary or that
move in different directions.
Proximity
Things that are close to one another are perceived to be more
related than things that are spaced farther apart.
Similarity
Things that are similar are perceived to be more related than
things that are dissimilar.
From Andy Rutledge

Passages open up spatial depth by opening up shapes or tilting surfaces or planes to
transition from one focal depth to another. Here are some simple examples of closed and
open passages. The definition of planes works in the same manner of moving or
transitioning from one spatial depth to another.
Spatial Variations
There are various aspects of pictorial space, all of which can be useful to you in telling a
more compelling story with your images. It is really important to understand the
differences and make a habit of giving space conscience thought as you craft your story,
plan your frames or design your paintings.
On one hand there is the division of the surface which we might consider 2D division of
space. The characteristics here are overlap and size relationships. But these are not the
only ways to create illusion of space. Some images use Flat, Limited, Deep, Ambiguous,
or Cubist space express illusion of space. And like all other visual components these types
of space are not mutually exclusive. Which means there can be more than one type of
space depicted within any image. The type of space you choose to depict your idea can
add to your image message greatly or it can create contradiction, tension and or confusion.
Compare the spatial arrangements in these images.
Ambiguous space
Staging and Movement

Here are some examples of a workbook for Iron Giant. THESE ARE NOT STORY BOARDS!
They should not be mistaken for story boards, the information delivered through these
pictograms is information for layout and camera. This is a pass done after the story
boarding process. All the expressive story boards have been sent to editorial and cut based
on the dialogue and expression. This document is addresses the staging and how the
camera will work. This pass was extremely useful because it allowed the story artist to
focus on the performance while the layout artist would focus on the composition and
camera movement. Composition and camera movement as well as the staging, lighting and
color are all very important components impacting a films continuity and depth of its visual
communication. 2D spatial relationships as well as 3D illusionary space need to be
considered concurrently.
Iron Giant Sequence 35
Robert Fawcett
The illustrators Illustrator
Here are three compositions for the same story idea in rough and more resolved states. It
is interesting to see how he uses strong eye lines and negative space in the top
composition. He makes the axis of each person different to stress strong angles in a
seemingly flat space image. In this first version he has a door on the left of the frame
where the people are looking. Not having it in the lower image allows for an area of relief,
uncluttered.
Here is another version of the illustration where he switched the foreground and middle
figures. In this case he adds the cabinet on the left which closes the composition and adds
the pictures. The pictures, the shoulder line of the foreground man, the light the
background mans' arm pouring the bottle as well as his and the woman eye lines create a
continuous line across the upper 1/5 of the frame. Look at how their eye lines are in line
with the clustering of elements along the back wall. Still their eye lines are moving
parallel to the picture plane.
Here is a 90 degree change to the position of the viewer (or camera). In this composition
he uses the cropped man on the right to anchor a strong vertical foreground while keeping
strong diagonal axis on the other two characters. This image features strong eye lines that
are all converging into the frame, unlike the first and second versions. Notice how that
changes the spatial read in this image compared to the first two.
Here are some frames from Lord of the flies
The images below by Andrew Loomis and Edgar Payne speak of composition and shape
relationships in terms of space but in most cases are addressing the division of the 2D
surface and not the illusion of deeper space.
This image has a strong vertical orientation where we see characters and architecture
creating a sense of rhythm or timing from left to right. This image also has two seated
figures, and clearly if they are not the subject they are the cause of of the subjects
reaction. Graphically pay attention to the diagonals in the red gowns above and the girls
arm and direction of her dress below these seem very obvious because they they are
different from the very vertical division of space and move in the similar direction and are
the most dynamic shapes in the image. The contrasting diagonals to these are created by
the axis and leg of the laying dark figure and the diagonal shapes on the fur carpets.
This image above my Archipov is also divided vertically into three major areas. The left
from the edge to the front of the left woman. This area has less tonal contrast than the
middle section that continues to the right side of the window and down along the yellow
scarf. This area has the largest area of light values, and the third area which extends to
the right side again has less really light areas of contrast. All four women facing one
another creates a dynamic closure. Our focal area is the space between them and we
move about their intimate space in the center section. See the diagram below.
The flattened or graphic quality of space in this image is created by the high contrasting
overlap of dark over light over dark.
These are very flat space images. they have no spatial depth clues.
Various types of space
When we are composing images we are dealing with the division of surface, and the
illusion, or interpretation of 3D space. It is important to note that the 2D division of
space is very important within the design of 3D space. That is why I put so much
importance on Matrix. Your Matrix is your 2D plan of surface division. 2D design comes up
regularly while we are dealing with 3D space and is why there is so much study and
research into cannons of proportions and mathematical solutions to surface division. Below
I am including a few new and old images as a reminder to always consider your 2D division
of space while composing anything.
While designing the illusion of a 3D space there are a few basic types of space we depict
and once understood can assign to any aspect of our story if we choose.
Flat Space
Limited Space
Deep Space
Ambiguous Space
Matrix and 2D Division of Space
Our other visual components add to or heighten the affect of these different
interpretations of space.
In Tone, hi contrast comes forward and low contrast recedes. Light objects can come
forward and dark recedes, and depending on atmosphere, above or below the surface of
water these will react different. If we want to use tone to add to the effect of Flat Space
we might keep high contrast throughout space. Where as in Deep Space we would change
the contrast level as we recede. And we would not just invert tonal contrasts in
foreground and background but confuse the viewer spatially. Shapes, Rhythm, movement,
and color can all effect space.
Foreground/Middle ground/Background
Thick/Medium/Thin
Dark/Medium/Light
Overlap/Reveal
Big/Medium/Small
Here are some notes on perception of space and relationships.
Figure-Ground Relationship and Gestalt principles of Perception
Composition begins with the relationship between figure and ground.

This consists of making clear the division of object and its surround.
As artists, art directors, or visual communicators of any kind we need to
move beyond relying on intuition alone, or a vague understanding of
composing pictures. We need to study composition and visual literacy in
order to take the guesswork out of design. So starting with figure
ground here are simple definitions for the gestalt principles of
perception:
Figure Ground Relationship

Elements are perceived as either figures (distinct elements of focus) or ground (the
background or landscape on which the figures rest).
Law of Prägnanz
Humans tend to interpret ambiguous or complex images as simple and complete.
Uniform Connectedness
Elements that share uniform visual characteristics are perceived as being more related
than elements with disparate visual characteristics.
Good Continuation
Elements arranged on a line or curve, are perceived to be more related than elements not
on the line or curve.
Closure
When looking at a complex arrangement of individual elements, humans tend to first look
for a single, recognizable pattern.
Common Fate
Humans tend to perceive elements moving in the same direction as being more related
than elements that are stationary or that move in different directions.
Proximity
Things that are close to one another are perceived to be more related than things that are
spaced farther apart.
Similarity
Things that are similar are perceived to be more related than things that are dissimilar.

From Andy
Rutledge
The Rockwell above is organized in a similar way. The clown,

usually considered as a fool, is beating the circus owner in a
game of checkers. The other two performers watch the game
intently and only add to the boss' embarrassment at being
beaten by the clown.
The clown has an intellectual advantage over the other

characters and this is reflected visually by his isolation from the
other figures. He forms the apex of his own compositional
triangle and is made prominent by his uninterrupted silhouette
cut out against the tent and table. His knowing gesture is also
contrasted with the boss' perplexity and the others' passive
observance.
The other characters are heavily overlapped and hold together

as a group, forming a simple mass that can be simplified as a
rectangle. Like the noblemen in the earlier example, their
individuality is downplayed so that they retain their secondary
place in the picture's hierarchy.
A spiral rhythm starting from the left and ending at the right
leads to the clown's head. On its trajectory, it passes by the
tambourine, the curve of the girl's dress, the rug, hat, chair,
bucket, rock, cane, up through the dog's paw, following the
shadows on the tarp and ending at the clown's head, the focal
point.
In this portrait look how the direction of his face and
eye line is heading off screen right while his head is also
on the right of the screen. The viewer’s eyes will travel
faster following the subject’s eye line that is why we
might give them more distance between their eyes and
the edge of the frame. This situation creates a lot of
negative space behind this head. Also his left arm being
so close and parallel to the frame creates a tension
along the right side of the image and our eye will travel
faster along the right side of the image and seem to
float across the lost edges of the left side of the image.
The higher eye level of the artist makes the subject
more submissive even if his head occupies the upper
right area of the image.
Here are some examples of Flat, Limited, Deep, Ambiguous,

division of space in one image, cubist, and multiple
points of view in one piece Thomas Moran painting,
which is similar conceptually to cubist but not analytical
cubist.
Compare the spatial arrangements in these images.
Ambiguous Space
Limited Spac3
Multiple space within one image to create contrast of space and bring focus to one element
of the composition.
Cubist space
There are various aspects of pictorial space, all of which can be useful to you in telling a
more compelling story with your images. It is really important to understand the
differences and make a habit of giving space conscience thought as you craft your story,
plan your frames or design your paintings.
On one hand there is the division of the surface which we might consider 2D division of
space. The characteristics here are overlap and size relationships. But these are not the
only ways to create illusion of space. Some images use Flat, Limited, Deep, Ambiguous,
or Cubist space express illusion of space. And like all other visual components these types
of space are not mutually exclusive. Which means there can be more than one type of
space depicted within any image. The type of space you choose to depict your idea can
add to your image message greatly or it can create contradiction, tension and or confusion.
Flat Space
Limited Space
Like the portrait by Phil Hale at the top of the page, here is an example of the artist using the
composition to deliver subtext about the sitters. Sargent has created shapes that have direction. These
shapes and their directions lead our eyes through the images, directed by and orchestrated by the artist.
In this painting of the Boit Daughters we can see that Sargent divided his 2D space into
thirds. Also notice, the youngest daughter is positioned just inside the third vertical line
and her head does not lay on these or the diagonal axis. Not that it needs to for any
reason but it is important to note that by doing so he creates a subtle visual tension,
explained below in leveling and sharpening. The strong red triangular shape of the screen
on the right prevents the scene from being static by having two symmetrical vases
bordering the doorway, it serves as an arrow that points down toward the center
directional line of the little girls shadow, (the directional line is not a physical line but an
implied line in the direction of the force of the shadow shape) and continues in line with
her dark stockings and dolls dress. This line, and rhythm continues to the left shoe of the
blond daughter on the left and up her shadow side. These two girls are the key
compositional figures within this painting because they're positioning creates a degree of
tension more than the others, and they are in the front room.
This is another limited space composition (from Tarzan II). With so much organic overlap
elements stacked easily and I kept the highest contrast in the close/center falling into less
contrast behind the main tree. Often in 2D multi plane animation you will see that things
drawn on each layer are kept to a minimal illusionary depth. Meaning the tree in the
foreground does not have branches that move in and out of space. As space in the distance
appears more compressed you can draw more volumetric on those layers and include more
illusionary space.
In this illustration by Howard Pyle everything is strung to the horizon line like clothes on a
line, and the variation of size and shape creates variety but with little spatial depth. I
think the drama of this scene could be improved by creating more spatial depth and
broader closure.
What would you do with this subject? How would you compose this and increase the
drama? Start with writing down what you want to say then execute that thought.
In this Wyeth painting below called Christina's World the spatial relationships do not
include longitudinal lines other than the subtle road and fence going to the house from off
screen right. The visual tension is created by the closure between the focal points of the
house, the barn, and Christina. Christina is disabled and disfigured and this baron field is
the range of her entire world, all contained within the area of closure. The worked area of
the field has a clear boundary and Christina being outside it and the closure encompassing
it creates another layer of depth.
Thomas Moran painted this painting with multiple focal points. It's a huge painting at the
Autrey museum and represents the philosophy of the Hudson River School. Their paintings
expressed the wild beauty of the vast untamed wilderness which romanticized expansion.
Creating a composition that has multiple focal points almost montage like seem like a
creative and honest depiction of the artists intentions.
2D Division of Space (Matrix)

Our other visual components add to or heighten the affect of these different
interpretations of space.
In Tone, Hi contrast comes forward and low contrast recedes. Light objects can come
forward and dark recedes, and depending on atmosphere, above or below the surface of
water these will react different. If we want to use tone to add to the effect of Flat Space
we might keep high contrast throughout space. Where as in Deep Space we would change
the contrast level as we recede. And we would not just invert tonal contrasts in
foreground and background but confuse the viewer spatially. Shapes, Rhythm, movement,
and color can all effect space.
Horizontal lines and two equally-spaced vertical lines, and that

important compositional elements should be placed along these lines
or their intersections.[2] Proponents of the technique claim that aligning
a subject with these points creates more tension, energy and interest
in the composition than simply centering the subject would.[citation
needed]
This photograph demonstrates the application of the rule of thirds. The

horizon sits at the horizontal line dividing the lower third of the photo
from the upper two-thirds. The tree sits at the intersection of two lines,
sometimes called a power point. Points of interest in the photo don't
have to actually touch one of these lines to take advantage of the rule
of thirds. For example, the brightest part of the sky near the horizon
where the sun recently set does not fall directly on one of the lines, but
does fall near the intersection of two of the lines, close enough to take
advantage of the rule.
Here is an example of ariel perspective. The overlapping of shapes going into the distance
helps in realizing the tonal contrast that occurs as objects recede in space. Generally they
have less contrast and take on more of the color of the sky at the horizon. Saturation is
also affected.
Ambiguous Space
The images below are from the German Expressionist film The Cabinet of Dr Caligari.
This photograph has a very interesting treatment of space because the bridge being flat to
the picture plane in contrast to the layout of the canals diverging in a reversed
perspective, the wedge building in the center, and the addition of the painted bulkhead in
the gondola of another canal. So this image holds multiple depth queues and creates the
illusion of ambiguous space.
Extra Notes
The Staging notes are from a lecture by Dave Hand and the notes on Quest Fulfillment are
by Walt Stanchfield. I think they are both informational and inspirational. I hope you
enjoy them.
Notes on space from Bruce Block 'The Visual Story'

Deep Space
----------------------------------------------------------------------------------------------------------------
----------
Flat Space
Ambiguous Space
at March 27, 2019
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Color Workshop
Here are some files from some color workshops explaining color set ups and painting exercises.
https://drive.google.com/drive/folders/1T7B...
Karen Han
"Good" katherine lam robh ruppel ralph hulet hwei lim tatsuro kiuchi tadahiro
uesugi ay...
Beckie H Lee
Week 1 Good composition Bad composition Workshop Week 2...
Color Workshop
Here are some files from some color workshops explaining color set ups and painting exercises.
https://drive.google.com/drive/folders/1T7B...
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4/30/2020 Wed_SP_19: Space Week 11

その他 shslmahoushoujo@gmail.com 投稿 ログアウト

We d n e s d a y, M a r c h 2 7 , 2 0 1 9 Search This Blog

area consider deleting the words "rendering and detail" and

We can depict the illusion of space in infinite ways but we can

Our other visual components add to or heighten the affect of

Here are some notes on perception of space and relationships.

Figure-Ground Relationship and Gestalt principles of Perception

Composition begins with the relationship between figure and ground.

ground here are simple definitions for the gestalt principles of

Figure Ground Relationship

Compare the spatial arrangements in these images.

Staging and Movement

Iron Giant Sequence 35

Here are some frames from Lord of the flies

Various types of space

Matrix and 2D Division of Space

Here are some notes on perception of space and relationships.

Figure-Ground Relationship and Gestalt principles of Perception

Composition begins with the relationship between figure and ground.

Figure Ground Relationship

The Rockwell above is organized in a similar way. The clown,

The clown has an intellectual advantage over the other

The other characters are heavily overlapped and hold together

Here are some examples of Flat, Limited, Deep, Ambiguous,

Compare the spatial arrangements in these images.

2D Division of Space (Matrix)

Horizontal lines and two equally-spaced vertical lines, and that

This photograph demonstrates the application of the rule of thirds. The

Notes on space from Bruce Block 'The Visual Story'

at March 27, 2019

Enter your comment...

Comment as: か (Google) Sign out

Publish Preview Notify me

Newer Post Home Older Post

Subscribe to: Post Comments (Atom)

Simple theme. Powered by Blogger.

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